New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-03-16

his first public appearance m Roman theatre In n
"a sang Niote for hour, hat N. Barber plani,
wanted to introduce "Nero' a. q conceited poet a
this stage and tor the sake of the contrast In vhS
Frerch dramatists delight, wanted him TO Il
int rupted by the introduction OF of his victim
no ably "Tbraseasr who suffers death because q
prefers to listening to Nero sing. But the crrrens
version of the opera knows nothing Of these thnas
Mere" sings without interruption until "Epicharss
forces har way to him and demands her child Nerop
thus learns that Chrysa" is not dead He command.
the death OF "Epicharis because of the deoe.tiou
but permits her TO Ire the petition ct poppaa,
Az the ter stretches out her hands Nero TIA
portrait of Chrysa" TIE bracelet, but recoye,s
sufficiently from his amazement to end the act by
remem bering an engagement at the temple OF Evander
II auy one is anxious to know why the episode tia
bracelet 10 introduced he wou1 do best to inquire bv
letter OF n. Barber. He will never learn from ths
representations a; the Metropolitan.
The next scene is ano. her VIII oh BARRIER built on
historical motive When Nero returned tn Napiea
from bis artistic In Greece in A. d. 81 he entered
the CRY through breach made in the wall, behind
TWO white horses, the custom OF yictors ths
sacred games. When he reached Rome his vanity
demanded still greater popular ADMINISTRATIONS
There he hsd the arch of the Circus MaXimus hurled
to the ground and entered the city standing in 8
chariot which had been used in the trinmphal process
sion OF Augustus On his head he wore the wreath Ut
Olympia, in his right hand he carried the Pythau
lanre lille his other wreaths carried before him
along with banners inscribed with the names of the
places whore they the names OF the defeated
singers and from the hymns with which be had
overcome them similar scene - the subject OF the
second part of the second act OF Barber and Rabin,
stems opera II IL least day ana the place beors
the temple of Eyander is CROWDED with the poEulacc
who az the METROPOLITAN under the instruction OF Heir
Hook act in q manner which would Justify their
commitment en- masse in some Roman lunatic asylum.
There is procession that the energetic and ambitious
choristers hide from the spectators IN the audience
room, the glories of which eliminate In Neross
appearance standing in chariot Eeiore this cllmax
comes multitude OF street scenes. ballet. antics
from band of strollng players, aud in the book tho
haunting and persecution some Christians. in short
all that could be devised make up OF actyisr
exeita NJ.
sand and voices OF such motley oiday crowd ars
Leard in Rubinsteins music tie sentiments OF pagans
and Christians, bond and Tree, sersIe ana insoeat
are voiced al ke There is tremendous enlistment OF
forces with net result ir effectiveness winch shrnks
into insgnifcance compared with that attained
without strain by Bzet in the last act OF Caimea"
where also the popnlace Gull out holiday and con-
ment on a procession 1t moves into the circus Tho
musical substratum of the trIumphal entry OF the
Imperial comedian is a broad march which WI serve
rs operate music but would deserve no attennonia
any other office Amid much unntelligibis shouting
Nero" procaims himself 10 be God and IS 80
acclaimed by the degraded popuace. The bailet muse
OF this act was heard here first in November, lssl
just yeaI after the first representation OF Nero II
Hamburg. The first part OF 1t has hai u
panied the dancing OF men instead OF women dressed
as Roman warriors but those who have formed their
estimate OF Rubnsteins skull IN ms kind o. wiring
from the exquisite Feranors ballet will listen IN
vain In this OF dance pieces tor the uxuIianee OF
melody, the gorgeousness OF Local color and the
poetcal beauty which we're inspired In the mud o. tas
composer by the Oriental imagery which he found in
We enter upon the third act with the knowledge
! (again Obtained from the considerable commentator
| that Nero" has sought "Chrysa" at his mOtherY
house aud tailed to find her; wherefore AgriPpina'
dies. The maiden is now kept III conceament by hei
| mother. "Vindex" aud she confess their loye and
discuss the Christian religion in which Chry@'
| is believer. Nero enters, offers TO put away
" Pouprap and make Chrysa" his Empress. but is
rejected with scorn snd upbraldings. he bloody
minded tyrant here plays pitiul part. giving wTto
a ft of rage which in the veritable man would have
meant blood, but TO the opera hero means Only seod
ing He extrcates the poet from the emoai EASEMENT
conseluen. on his not knowing how TO get the crop
curtain down by remembering that he has another en-
gagement-this time to see Rome burn ne I'm MAJ
| until the scene with "Chrysa" was ended ana
| saccus" came TO remind him. In the second scene
! he views the famous spectacle from balcony ana
sngs OF the burning of Troy. In the streets the N
threaten death TO the Christians and carry out then
threat by staying Chr'sa who proelalms nersen !:
Christian when she Nero approach. ihe act -
| wretchedlv constructed. but unsteady is excellent
! The duet between "Vndex" ana Cbrysa,| Theh
had been heard here previously In concert lullaby
| duet between "Chrysa" and Sfpicharis." ana
Nero's" song Ilion." are beautiful ana expressing
music. The last act, too would be good one were s
not for its first scene Inc yertaoe netU ,ast 81
have confess that be was haunted oy the ehos, VI
| his murdered mother. NJ. Barber multipliet
| Aprippina" by all the victims OF Nero lie meets
them ali even vast concourse OF Christian maitvrs
in tbe mausoeum OF Augustus, and calls the roll Of
names to which they and accounts Tor their pres
enee to the audience Yet tbs Is the eighth deeaue W
|
all his ghosts at when he was fourteen years Ola
| has lived. The scene is dolefuly undressing in
the last we stop admire feature IN when poet ana
composer co-operated beautifully The Galie legons
tramp past a road though the caihpaSha ~
they go they sing Jeering gong, he sang SO muvn,
so much did Cesar till his gong awakened the GaiIie
bird Thus begins and il ends with assurance that
" Nero's" time is come. This is caPtsl poetry nlthouS
doubt ia the original il Is in the German the ldeA
il capital ami the composer caught It's spirit heiy
| thew disapi ear " Nero" enters With Saceus, ana
being detected By centurion, he borrows Saceuss
dagger poses tor the admiration OF tue world pt
! moi brave enough to drive the steel home saccus
does il tor hin As the Gallo legor gather around
a bright cross appears in the sky and Is hailed Dy
Christians a. a sign OF Christs coming Dy the others
| as symbol OF divine protection tor kome
THE NETWORK SCHOOL OF ACTING.
The attention OF paygoers again directed 10 the per-
formance which will be given this afternoon al the
Ivceum Theatre by students connected with the New
York School OF Acting. There are thrtyfour stadeh"
now connected with this institution which Is directed oy
| Mr. Franklin H. Sargent Lessons are given IN acuoa
and dicon business dancing and fencing CpwarH
of 100 students have graduated from TINS SCHOOL,
several OF whom now employed III Tue reshil 1ia
hubble examination OF the students now under lnuo.
Tile programme comprises Moileres Les fiec.euS0
Ridicnes" adapted by Mrs. Doremus, The cape MAI,
/ and scenes from Leah and Adiienne LeconVienr'
/
| COLTMBIA COLLEGE CENTENNIAL
pv.rrprs OF THE CEIEBRAToN-THE STUDENTS
WILL PROBABLY HAVE WEEK OF.
Nm, p,u,S. reeently gave an account OF the proposed